23 January 2007

craft researchTitle:BeautyMy research is raising interesting questions, and there is one I’d like to share and discuss here: ‘Is the concept of beauty timeless and unchanging?’Looking at an example of historical craft practice, namely the ‘Vine Corridor’ (created in 1899, commissioned by the 3rd Marquis of Bute, and situated in the House of Falkland, Scotland), I’d like to explore the question by initially concentrating on the role of natural light and its relation to beauty.In the narrow ‘Vine Corridor’, natural light dances through three, small stain-glass domed windows. The three windows represent different parts of the day, namely ‘dawn’ ‘mid-day’ and ‘dusk’ and are coloured accordingly. For example, the morning window is coloured with cool, soft mauves, greys and blues, the midday window is golden with oranges, yellows and pale blues, and the early evening window has a rich, warm, palette with deep pink, red, purple and gold. The windows in themselves are aesthetically pleasing, quality pieces of craft. But, when natural light passes through the stain-glass and falls on the highly patterned and colourful ‘stucco’ plasterwork on the walls, the significance of the craft aesthetic is heightened. There is a new story being told, one that brings the natural cycle of day together with symbolism in the 'Vine Corridor'. When you walk through the corridor you realise beauty is a dynamic quality; it demands that the eye is constantly moving, challenging the eye's ability to stay focused on one element for a sustained period of time. This is one of my observations, but what are your observations of the role of natural light on craft practice? How does it affect your practice? Does it? Perhaps you would like to comment on another aspect?

Contemporary crafts are expanding, with extremely talented artists working in the field and the number of galleries and collectors growing rapidly here and abroad. This study day examines contemporary craft practice and compliments COLLECT the international art fair for contemporary objects which is presented by the Crafts Council at the V&A from 8-12 February 2007.

Chaired by Amanda Fielding, Camberwell/V&A Fellow, the day will include four leading craft artists talking about their work and its development. Participants will have the opportunity to view COLLECT 2007, where they will see examples of some of the artworks discussed and the day will conclude with a question and answer session.

This event is aimed at a non-specialist with an enthusiastic interest in applied art and craft, as well as budding collectors who wish to inform the way they collect.

11.50: Half Truths and RecollectionsLeading glass artist Bruno Romanelli takes a chronological journey through his work from leaving college to the present day.Bruno Romanelli, Glassmaker

12.35: Lunch (not provided) and an opportunity to visit COLLECT

14.00: My Path through MetalNdidi Ekubia will describe how her fascination with metal began and how function plays an important part in the design and interpretation of her silverware. Using hand raising techniques she is able to push metal into fluid three-dimensional forms then manipulate the surface to create movement and vitality. Ndidi Ekubia, Metalsmith

14.45: Tea

15.05: Material EvidenceMichael Brennand-Wood will be speaking about his current work and projects, making reference to the context and history of his recent practice and associated influences.Michael Brennand-Wood, Textile Artist

15.50: Panel discussion and audience Q&A

16.15: Close and opportunity to visit COLLECT

Cost

£38 (including V&A Members and Patrons). Concessions: £32 senior citizens; £12 disabled people, ES40 holders and students. One free lecturer's ticket is offered for every 10 student tickets booked and one free place can be offered to a carer accompanying a disabled person. Ticket price includes morning coffee and afternoon tea. Tickets must be booked in advance online or by calling +44 (0)20 7942 2211 or emailing bookings.office@vam.ac.uk

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Dr Louise Valentine is senior researcher on the UK based Past, Present and Future Craft Practice (PPFCP) project from which this BLOG arises. PPFCP is a major Arts and Humanities Research Council funded project led by Professor Georgina Follett and Dr Louise Valentine, Duncan of Jorandstone College of Art & Design, University of Dundee, Scotland. Their research asks, 'Is there a Future for Craft?' (2005-2010)